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  • Musipedia Of Metal

    Reviews: Divided By Design, Slakter, Bayonet Dismemberment, Vow (Matt Bladen)

    Divided By Design - Stages To Osiris: Rebirth (Self Released)

    Instrumental prog trio Divided By Design have decided to follow up their previous album A Canvas For The Universe by reimagining their 202 debut record.

    Stages To Osiris: Rebirth is technically their fourth studio full length, but it seems them going back to their first record with the skill and experience they have now having released a lot more music, cultivated a huge online following and even winning M2TM and going on to play Bloodstock.

    The original album was conceptually driven by the grief cycle and this one follows the same inspiration but delivers it in a different way, with a much broader musical résumé and advanced production skills from band founders Tom Chambers (drums) and Liam Stephenson (guitar).

    They're joined by Sam Young on bass and the trio run the full spectrum of progressive metal and rock. Denial begins with a heartbeat and then shifts towards Dream Theater-like riffs and organ tones, weaving it's way through riff driven flurries and virtuosos solo sections as the guitar takes the form of the melodies.

    The bass and undulating rhythm for it to build on as the drums often play at counterpoint to the rhythm with fills inspired by jazz playing, taking the band into the Djent heaviness of Reactionary. Now the main riff of The Negotiation rips off Schism by Tool, the rest of it goes full jazz fusion meets organ led doom, but that riff is exactly the same as Maynard & co.

    Thankfully Collapsing Reality brings back originality as The Fatalist pairs orchestrations with twitchy atmospherics as it closes this re-envisioned chapter in Divided By Designs story. Some bands take a risk by messing with material that they've already released but this instrumental trio have made a good record even better, with the experience they've gained since then. 7/10

    Slakter – Infernal Exekution Reign (Witches Brew)

    Infernal Exekution Reign is a throwback to the early days of the thrash scene, when it was volatile, violent and evil, informed by satanic rituals, horror and war, the riffs bit hard, the vocals shouted and the production made it sound like they recorded it in their bathroom. 40 years later Slakter from Indonesia have captured those early days brilliantly with their debut full length. 

    Produced as if it’s been tape traded over and over again, audiophiles need not apply as this comes straight from the underground where style shouldn’t get in the way of substance and production is overrated anyway. You can feel the energy and excitement of the band, they rip through the eleven songs with a sense of reckless abandon that’s dangerous and defiant. 

    They raise their steel to Venom, Slayer, Sodom and Kreator as the bass is super high in the mix, the drumming takes one blasting route and sticks with it and the guitars are buzzsaws and the vocals sandpaper. 

    Abrasive but with moments of melody Infernal Exekution Reign doesn’t redefine anything, rather it just pays as much deference to the early thrash scene as possible without copying. They even bring some nuance to their retro worship on Hammer Of Blasphemy, Benediction and the two part closer Acts Of Depravity. 

    Whether the production is your thing or not, Infernal Exekution Reign does a great job of emulating the sound of early 80’s thrash extremity. Slakter come from the South East Asian underground bearing riffs. 7/10

    Bayonet Dismemberment – Skull Crushed By A Tank (Iron Fortress Records)

    You’ve got to give it to Iron Fortress Records, they known their audience! The record label that brought you Tombseeker, Emaciated and Infinite Misery now bring you some more disgusting death metal, featuring a snare that sounds like a church bell! 

    Vancouver band Bayonet Dismemberment bring the horrors of mechanised warfare right to your earholes with new EP Skull Crushed By A Tank, this isn’t the WWI or WWII inspired noise though, Bayonet Dismemberment stick with 21st Century and the wars in the Middle East perpetrated by Bush and Blair. 

    The title track is about as obvious as you can get, a slow, punishing dirge through muddy fields as Ricky Myers from Suffocation joins in with some sick gutturals, it’s not subtle, this is death metal to bludgeon. Mutilated presses on the gas as Alex Sason of Unearth joins the frenzy, the riffs slice into each other with technical brutality. 

    Razorwire Laceration has blasts obliterating your skull as it evolves into a grunting chug. Mixed just enough to sound raw and nasty, Skull Crushed By A Tank closes with Decapitation and you’re neck will surely be hanging by a thread at the end of this brutal EP if you choose to bang along to it. A cavalry charge of the mechanical kind as these Canadians deliver yet more brutal death on this third EP. 7/10

    Vow – Death Will Be My Bridge (Iron Fortress Records)

    Another Iron Fortress Records release now but this time it’s not skull fracturing brutal death but some melodeath from Chicago. Inspired by the European sound of melodeath meeting the stomping style of NWOAHM from the early 2000’s, Vow dwell in dark atmosphere, introspective ideas and frenzied aural assaults with plenty of lead guitar brilliance, unstoppable blast beats and ferocious growls. 

    At just six tracks they manage to grab you by the throat with the opening duo Name Not The Fallen and New Patterns In The Blood, the former built on pinched harmonics and breakdowns while the latter has harmony guitars and technical rhythms. 

    After a brief acoustic Interlude Vow dive deep into the NWOAHM on Bells Made From Bullets, adding a bit of blackened battery for good measure. Vow have the chops definitely, their playing is highly skilled, but they can use them to make some well composed, anthemic melodeath, shown on the double hit finale of aggro stomp Still Breathing and the blistering title track. 

    Death Will Be My Bridge brings extremity and melody from Chicago's Vow, melodeath fans get on it. 7/10


    Reviews: Geoff Tate, Cyhra, Erik Grönwall, Leatherwitch (Matt Bladen)

    Geoff Tate - Operation: Mindcrime Part III (Self Released)

    20 years since Part 2 and 38 years since the influential Part 1, Geoff Tate returns with the third part of his conceptual magnum opus Operation: Mindcrime. In case you didn't know Operation: Mindcrime, by Queensryche is seen as one of the most important concept records in progressive music history up there with The Wall it's a dystopian tale of "political manipulation, revolution, and identity."

    It features tracks that are considered classics and much the same way Roger Waters did with The Wall, when he left Pink Floyd, Geoff Tate has made it his mission to adopt Operation: Mindcrime as being the foundation of his solo career. This means that both Queensryche and Tate perform songs from this album right and as we speak Tate is on a tour playing the album in full for the last time.

    In 2006 just before he left the band they released a second chapter of the record but it didn't quite hit the heady heights of the first record, inspired by The Bush era, it reshaped some of the lore while adding more.

    So what about Part III, the first released under Tate's name alone? Well he returns to the world of Mindcrime with a record that has the spirit of the first one. The advancement of technology and current American culture all influencing the story this time round as it takes the perspective of Dr X, the originals main antagonist, perhaps making you re-evaluate the character after all these years.

    While he may not quite have the highs he did then, Tate is still a great vocalist, embodying the characters fully to tell these stories with drama and pathos of a thespian, his biggest influence being Tom Jones when delivering power in the lows and mids. He's joined by the excellent vocals of Clodagh McCarthy as Sister Mary. 

    The band are also highly skilled; Kieran Robertson, Dario Parente, and Amaury Altmayer sharing the guitars, as Robertson and Tate take keys and bulk of the writing too, Rich Baur is a star behind the kit while bass and production comes from Disturbed's John Moyer, his groove powering Set You Free.

    The music is the right mix of progressive metal, on I'll Eat Your Heart Out and You Know My Fu*king Name, introspective balladry from Do You Still Believe, tinged with electronics, and anthemic choruses on The Answer and Power.

    Operation: Mindcrime III then. It was never going to surpass I, but it is better than II, so if you're a Tate fan, or even a Queensryche loyalist, you'll get a lot out of it too. 8/10

    Cyhra - Requiem For A Pipe Dream (Reigning Phoenix Music)

    It's been 10 years since Swedish supergroup Cyhra formed, an alliance between, vocalist Jake E (ex-Amaranthe) and guitarist Jesper Strömblad (The Halo Effect/ex-In Flames), they were joined by drummer Alex Landenburg (Kamelot), guitarist Euge Valovirta (Suburban Tribe) and bassist Peter Iwers (The Halo Effect/ex-In Flames).

    They've released three records but the line up today sees Iwers having departed as Valovirta and Strömblad playing bass in the studio, adding Marcus Sunesson (Ronnie Atkins) as another guitarist. Valovirta also plays the keys and co-produces alongside Jake E.

    So album four seems Cyhra as a well honed veteran unit, on this record, they're looking to cement who they are, more ferocious, bigger, bolder but more vulnerable and melodic, there's no room for compromise or slavish following of what's hot and what's not, Requiem For A Pipe Dream is an album more collaborative than any previously, each member bringing influence from their previous alliances into Cyhra.

    This chemistry can be heard on track such as Ghostbound where the anthems of Amaranthe merge with the double blast of In Flames, the electronic creepiness comes in on Miss Me When I Gone, it's melodic metal with a harder edge and some shifts that may take you by surprise. In The Centre Of A Miracle is an emotive Euro-ballad while Skin From Bones takes breakdowns and puts them with some rap vocals.

    Though for many the style they'd want from Cyhra is bonus track Hold Your Fire which features Samy Elbanna from Lost Society. Requiem For A Pipe Dream has Cyhra roaring back with their most cohesive and diverse record yet. 8/10

    Erik Grönwall - Bad Bones (Greenwall Entertainment)

    Erik Grönwall is a bit of melodic rock superstar, he's been the voice of H.E.A.T, Skid Row and Michael Schenker, so a set of pipes that's in demand and he's finally doing something for himself with the release of Bad Bones.

    A solo record where he can put wrote the songs he wants bringing his brilliant vocals to what is fully his own music rather than stepping into the shoes of someone else. He describes it like so "it’s time to tell my own story", Bad Bones a personal and honest record that follows it's own path.

    So what kind of performer does Erik want to be outside of other people's bands? Well he seems to stick to the melodic rock style, from the bouncy title track, the stomp-clap of Save Me, through the Scorpions strut of Twisted Lullaby, to emotional balladry of Praying For A Miracle and Written In The Scars.

    However there's even forays into Queen/Broadway on Who's The Winner Now and blues on the hip shaking How High, all slickly produced, performed well and sung with that skill that sees him as a go to voice for so many classic bands, Bad Bones shows what Erik Grönwall can do when left to his own devices. 7/10

    Leatherwitch - First Spell (Listenable Records)

    Heavy metal lives in the heart of Marta Gabriel, the ex-frontwoman of Crystal Viper, she's a very in demand session musician and has turned these skills into her new project Leathewitch.

    A solo record, Marta writes/sings/plays/produces everything on First Spell, with Giuseppe Taormina adding guitar solo. It's very much the creation of Marta, paying homage to her influences through her keenly trained heavy metal instincts.

    Erupting with metallic power, Heroes And The Dice, is inspired by D&D with classic metal melodies, while Beast Inside is precision speed metal, Bound By The Night and Silver Stallions both have Maiden gallops.

    It's not all full speed ahead as The New Beginning slows it down for some metal balladry as the 80's metal sound returns for Two Tons Of Steel, continuing right through to a very true cover to Walls Of Jericho/Ride The Sky by Helloween.

    Anyone who has heard anything that Marta Gabriel has been involved in, will find no surprises on First Spell, but a whole load of heavy metal worship from one of the genres most loyal warriors! 7/10

    Review: Urzah - A Tranquil Void (Matt Bladen)

    Urzah – A Tranquil Void (APF Records)



    We’ve been following the career of Bristol based noisemakers Urzah since their inception in early 2020, battling through a pandemic, they released two EP’s which honed them as a studio acts before they even got on a stage together. On stage they’re a primeval force of heaviness, progressive sludge that dwells at the fringes of both, drawing in hardcore, post metal, punk, classic metal and more like a sonic black hole. 

    They finally released their debut album The Scorching Gaze on APF records in 2024 and this was the first ‘proper’ chapter of their story, the self-actualisation that Urzah could become the next mega force in this genre the same way as bands such as Urne and DVNE have exploded in recent years.

    Sharing similar influences such as Neurosis, Mastodon and any band that blends sludge with more atmospheric and progressive tones, their debut album was rumination on the human experience, the cycles of life death and more. It took them to bigger stages and higher profile shows, with the momentum not slowing even in the face of replacing their bassist. 

    Dan Bradley took up the low end in November 2024 and they decamped to Josh Gallop’s Stage 2 Studios in Bath again to record the follow up to The Scorching Gaze, as Josh has very solid, sonic acumen for music of this style. 

    That follow up is A Tranquil Void, another conceptually and philosophically driven record that joins its predecessor and a thematic diptych, the debut burning red with fire and rage while this one a calmer, reflective blue where the aftermath is examined, so keeping the same producer is a must if both albums are two sides of sonic coin. Though you shouldn’t expect Urzah to have mellowed, there’s little in the way of happy-clappy realisation, flashes of introspection and ambience yes but Urzah are still a band who reach catharsis and closure through heavy riffs, they’re still a progressive sludge band. 

    However with A Tranquil Void they broaden their sonic display through folk influences, broader spatial exploration, wider complexity in the songwriting and collaborations with guest vocalists of the Bristol music scene including, Dave Cook (Empire Of Dust), Chris Wilson (Row of Ashes) and Victoria Bourne (The Spark’s Desire), reinforcing their place and their pride as prominent members of the Bristol/South West scene. 

    Beginning with the insistent an ominous At The Mouth Of The Cave, they immediately break new ground as acoustics fluidly play the melodies over concrete stabs of heaviness, as if approaching a terrifying new phase of living. It does a lot to build up the dissonance and rage, which is unleashed on second track The Call Beneath. A tech metal showpiece that, really gets the record started in the way you’d want from Urzah. It’s a track about overcoming grief, it does so with gifted guitar interplay between Ed Fairman and Tom McElveen, set against and industrial dirge, and it’s a song which starts and stops like a mechanism for rage. Their vocals are just as intertwined as their guitar playing is, sharing riffs, melodies and leads, the density is just as potent as the complexity. 

    From here the pace increases on Infernal Star I, those Mastodon influences that are mentioned, are here if you’ve been looking for them. Though they are more pronounced on Infernal Star II, which continues this two part sludge suite by dialling up the heaviness, driven by the impressive drum work of James Brown and the guttural bass of Dan Bradley, as the last moments erupting into solo section, which will see many air guitar heroes following along. This is the fantastic sound of Urzah at its most refined. 

    Four tracks through and you can hear that Urzah are reaching for something much more intense and emotionally expressive than on their debut. It’s on the last four tracks though where the band push the experimental personality of their work. 

    Side B begins with the woozy tribal beat of Bark & Branches, folksy and meditative, you may think it’s Heilung, but as In The Mouth Of The Wolf hits, this short rest bite is destroyed by more fierce technical aggression, again the guitar playing features plenty of thunderous brutality, the riffs contradicting and conjoining as it shifts towards the longest solo section on the record, taking the track and the band into classic heavy metal anthemia. Beneath all of these movements the rhythm section stays thick and crushing.

    Getting heavier and louder as we move into another massive sludge beating on Hunter In The Veil. It’s here that the Neurosis sound comparison hits home, deafening drones of guitar and cello from Luke Clemenger, anchored around the, off time drumming, sprawling lead bass and raging vocal. 

    A Tranquil Void is an opus, no mistake about that, any notion of a “difficult second album” blown away in the first half of the record, while on side two they settle into a new soundscapes, framing themselves as not just a riff heavy beast but a band who can play with nuance and intelligence. 

    A Tranquil Void culminates in the 11 minute closer; Entwined, Twisted Roots Of Chaos, beginning with a dissonant slow burn and ghostly female vocals, it’s a track that builds, as if signalling the final chapter of this dual album journey, the constant increase of volume, emotion and atmosphere, never fully bursts like you may want it too, but it does just enough to give the felling of acceptance and appeasement that this album is trying to epitomize. 

    It just caps off what is an incredible album number two from Urzah. The Scorching Gaze lit the fire, but A Tranquil Void has turned Urzah into an inferno of creative brilliance. You need this album! 10/10

    Reviews: Evergrey, Ditheist, Kid Feral, Sleepbomb (Simon Black, Mark Young, GC & Adz Redpath)

    Evergrey - Architects Of A New Weave (Napalm Records) [Simon Black]

    Evergrey are another act absolutely in my sweet spot but to whom I only came upon fairly late in the day a couple of albums back. Architects Of A New Weave is, believe it or not, their fifteenth studio recording. The line-up may have ebbed and flowed a lot in that time (and indeed quite a lot recently), but the consistency and quality have not, and I remain surprised that this unique and prolific act have not achieved more success than they have, because it’s surely deserved.

    This new opus does not buck the trend.

    A conceptual piece thematically (something Evergrey are no strangers to) the album starts a little clunkily with a narrative opening, which frankly serves little purpose other than to give the band 90 seconds to get on stage when playing live. At first I’m a little disorientated by the slightly jumbled opening bars of the opener proper - The Shadow Self, although once it gets going it delivers exactly the kind of catchy, mood and haunting vocal chorus hook that makes this band so distinctive.

    The title track then proceeds to knock things out of the park, along with any of my concerns. Whilst clearly the strongest track of the crop, it’s also probably one of their best songs to date, and one I suspect is going to be in the set live for some time.

    The record continues mostly in the darkly melodic, progressive-tinged vein that they are such masters at, but the pitch and tone do head into faster and more upbeat terrify from time to time, varying the pace at just the moment when things could get repetitive. There’s a slightly different and edgy vibe to this disk as well, and perhaps the line up fluctuations have been therapeutic as well, because at this stage in their careers it would be easy to just stick to what you know, but overall this feel like a positive step in a slightly different direction without losing the key sound which makes them so recognisably unique. 9/10

    Ditheist - Cosmic Liar (Heathen Tribes) [Mark Young]

    Ditheist, hailing from Chicago come in and drop what is essentially a decent bit of Death/Grind for their second full length release, Cosmic Liar. What you get is 8 songs that stick to a plan with little deviation in how each of the tracks deploy. There are moments where they spread their approach wider, such as the middle eastern tinge to Nyarlathotep but I’m getting ahead of myself by not starting at the beginning. 

    It’s an odd one as the opening trio of Cosmic Liar, Evil To Live and Kill The Priest are relatively ok and represent a fairly strong start. Each of these take the core requirements for extreme music and apply generously like they are spending someone else’s money. For me, they don’t do enough to grab and to be honest I thought that this would be the general theme running through it. 

    When we get to Nyarlathotep suddenly you sit up and take notice. This is a grand moment, carrying an epic feel to it where everything clicks into place. Riffs are huge with a cracking pace to them that drops in and out to suit. Throw in a lead break that does a lot in quick time and we are off with renewed interest. 

    Apoplectic Delirium follows and keeps that intent steady, the band returning to a more traditional death metal sound which for me is a shame but this is still a strong track. One of the things that does punch through is the feeling that they are consciously being a little loose instead of being rigidly fixed to time. As a result of this you have a more organic touch to it. In any event its two for two. This upward swing continues with Covenant Ov Torture, a furious stab at old school goodness that Vader would be happy with.

    The closing act consists of Mouth Of Hell and Singularity and its great to hear and acknowledge that they don’t drop the ball at the end. Mouth Of Hell is rapid, full of razor sharp riffs and that unswerving looseness. Its like a cart trying to come off the rails, tipping to one side before they manage to pull it back to relatively safety. It’s a strict combination of speed and brutality, a straightforward kick to the skull that is sure to scratch the itch of anyone looking for new death metal. 

    Of course it has to come to an end and Singularity holds that position. This takes another turn, mixing in a wicked groove to the head kicking arrangements they have been dropping here. I go on about how the last song can really make or break an album and be the reason for future listens. Singularity builds on the good work that started with Nyarlathotep and provides a strong finish that I really wasn’t expecting earlier.

    It is a literal album of two halves, one that starts slowly and finishes on a high. In terms of extreme music, its certainly worth a listen and I would have loved to have heard more like Nyarlathotep because they did it so well. It certainly represents the moment where things picked up but ultimately you have a decent bit of death metal. 7/10

    Kid, Feral - 2019 (Backpack Records) [GC]

    When you see the writing process for this record began all the way back in 2018, you wonder what has taken them so long to get it released, apparently parts of the songs have been re-written several time and they wanted to really take time to make sur everything was on point!? 8 years is a long time to spend on an album by anyone’s standards, so is 2019 worth the wait?

    It gets going with Funeral In A Grocery Store which is a bit of a whirlwind it has the essence of a great screamo track but the way it dips in then mixes the jagged Dillinger Escape Plan style guitars in there but it feels a little short, maybe I’m missing something but the build-up feels like it needs to be more dramatic to have the full affect they are aiming for? 

    Stop ‘N Go is a blur of noise over it 54 second run time and it feel like there is something there and I appreciate a short track more than most people but here the drama just seems to get lost, Substance is a bit more what I am looking for, the song has a bit more body to it and allows for a build-up and the emotion gets to really take the lead and the chaotic-ness of it all really takes it up to another level. 

    Medieval Poetry again has the same sort of stylistic vibe and carries the emotion forward on a seething wave of anger, which grabs the attention and makes you really invest into the sound a bit more its melds the unpredictable and the heartfelt nature that is needed and you can really feel the energy through the whole track and it ends in a gloriously batshit way as well which is always a bonus.

    Pothead Archaeologist is a blink and you will miss it 51 second blast of unhinged noise that arrives, kick you in the teeth and then just leaves, no nuanced soft sections or emotional tug, just pure unbridled savagery which is nicely done and mixed in after a couple or more though provoking tracks.

    With Memories From A Stamp Collection you can just picture a shitty practice room somewhere in the mid 00’s with 4 guys with t-shirts that are 3 sizes too small, skinny jeans, Converse and black Romulan haircuts just chucking their instruments about and diving all over each other and hoping a song comes out of it and it sort of does in a way, again the main word that comes back to me is chaotic and honestly I’m not sure if that’s in a good or bad way? 

    I Want To Be Your Canopy then of course just veers off in a totally new direction and throw in some black metal, just because, you know why not they have tried everything else so they may as well give this a bit of a go and honestly? It works it adds more drama to the overall sound of the song and gives it an interesting backdrop against the more emo-y sections an unexpected and savage mix of styles that compliment each other well. 

    Puddle Jumper is the last track to give us one last weird pummelling, it smashes together the emo soft bits with more unwillingly bonkers mathcore which is the basis of screamo and they absolutely nail it here.

    Reading over the PR for this I wasn’t 100% sure what I was expecting really, what I got was lots of chaos and emotion, sometimes mixed together really well, sometimes they allowed their intrusive thoughts take over and let them get too involved and the sound got a bit too much and didn’t make much sense but overall, I enjoyed what I heard and would be interested to see where they go from here in the future. 7/10

    Sleepbomb - Songs In The Key Of Conan (Koolarrow records) [Adz Redpath]

    After over a decade of fluctuating lineups with a stable core of 3 members this San Francisco Horror/Doom metal band provides here their interpretation of what the original Conan movie from 1982 should have had as a soundtrack. This is an intriguing and attractive concept to a movie buff such as myself and seeing their prior influences on past releases including the mighty George Romero I was excited to broach this and hear what vision this band was going to put forth. as a whole.

    The production work on show is very solid here and undulates with atmosphere throughout, balanced and well mixed with a great use of instrumentation on show here although nothing of any particular prowess or technicality and with a lot of repetitive themes and time signatures. At times it does feel like a click was never used although that only serves to give the album a more organic feel and does not detract from what's on show here. Musically the tracks flow well although it's hard to find any stand outs amongst this release as it truly does feel more akin to a movie soundtrack than an album of songs that you will want to repeatedly listen to.

    This could be epitomised as great background music with truly solid production and some really spacious undertones and musical soundscapes, but feels like an overly contrived concept that in all honesty I will be unlikely to check again unfortunately and was quite a slog for a newcomer to the group to get through. They fulfil what is a very niche vision that within the movie industry may do well but for the average fan of doom or metal is unlikely to garner much interest .

    I don't like to go full Dave Portnoy but it does seem to be my way with reviews and this although well constructed fails to deliver more than a conceptual idea. 5/10

    Reviews: Pro-Pain, Monolord, Shooting Daggers, Gurt (GC, Matt Bladen. Mark Young & Cherie Curtis)

    Pro-Pain - Stone Cold Anger (Napalm Records) [GC]

    When it comes to names that stick out in a scene, Pro-Pain are one of those in the hardcore world, one that has been around forever and are seemingly still fighting the good cause for the hardcore scene. 

    From what I can se this is their SIXTEENTH album!! Now that is an incredible number of releases for anyone, so, where does Stone Cold Anger fit into today’s scene?

    It is as expected on opener Oceans Of Blood with some fast paced hardcore that has the unashamed punk element threaded into the sound the comparisons to other bands is a bit pointless as these guys were there at the beginning with them all anyway so are bound to mix in other sounds but its clear that 35 years of experience has let them form a solid sound that will not be changing anytime soon! 

    Stone Cold Anger has a bit more of the metal-ness sprinkled across the song and is more beatdown in nature but not the stupidness of today’s beatdown bands, it’s the more nuanced sound of the early NYC hardcore and it’s a glorious and violent throwback to a sound that never gets old or tired.

    March Of The Giants then finds a bit of a middle ground, as again its more on the metal side of things but has a stomp and swagger that comes with the years or writing and touring, it allows them to cater to what they know is going to hit well with existing fans but also will bring new fans in, it has old school charm with a new school cutting edge. 

    Uncle Sam Wants You! throws back into the punk element and is a riotous and snotty fuck you to the corrupt system in the US and how they treat their armed forces, its direct and angry and sums up how it must feel to be a part of that whole unpleasant situation when it arises.

    Demonic Intervention opens up the sound to the groove-metal world, its stomps and pounds around well enough and its all nicely done but it just feels a little too mid-paced and it never really picks up the pace and just sort of meanders all the way through, it’s not boring as such just lacking that killer edge needed to really make it shine and stand out. 

    Luckily on Rinse & Repeat they sort of pick up the pace again, but also don’t at the same time which if this sounds weird to read it sounds weirder to actually hear! It has gone back to the more standard hardcore sound, but it feels again like something is being held back and the song never really seems to get going enough.

    It’s all decent enough but just missing something, thankfully Hell Or High Water kicks back into gear and really shows what they are capable of when they just let go of the reigns, metal clashes with hardcore and punk dips it toes in as well. 

    It’s an adrenaline rush of a song that just makes you want to get up and start a mosh pit wherever you are, rousing, reinvigorating and sorely needed to pick the mod back up! Scorched Earth then mixes a bit of the holding everything back style with some more hardcore punk parts and the mix is good but that’s about it, you’re never entirely sure what style you should expect, and it affects the flow of the track massively! 

    After this Jonestown Punch sounds immense, they again just throw off all the shackles and go straight for the kill, sharp and precise riffing mixes everything together and the groove elements is huge all the way through.

    You just wish more of this had been on the record this continues into Sky’s The Limit which is probably the most anthemic song on the album and a savvy closer as it will get people moshing and singing along in the live setting and leaves you with an energetic rush to finish things.

    It’s clear to see that Pro-Pain are here to stay and they don’t care if you like that or not, 35 years of writing, recording and releasing records is no mean feat and Stone Cold Anger will slip into their huge back catalogue and not get lost or forgotten, its bold, brash and angry as only hardcore can be and is well worth a listen. 7/10

    Monolord - Neverending (Relapse Records) [Matt Bladen]

    After an enforced break due to mental health struggles, during which their frontman released some ambient records, the the trio of guitarist/vocalist Thomas Jäger, drummer Esben Willems and bassist Mika Häkki reconvene under the Monolord banner, for their first full length since 2021.

    On Neverending they reach further into the a galaxy of riffs than ever before, inviting the ambient movements of Jäger's solo work to further deepen the sonic hypnosis of Monolord. The colossal riffs of Inside A Collider are just what Monolord fans will want slipping into Crystal Bridge where that massive heaviness moves into psychadelic atmospheres.

    Behind the producer chair Sylvia Massy (Tool/SOAD) gives Neverending a more contemporary slicker sound than some fans may be used to, the fuzzy repeating riffs are getting their edges sanded, to create an album that defines the band they have become after 13 years.

    Fear not though as it doesn't mean Monolord have gone soft they've still got the volume and repetition to lock you into steady head nodding groove but with their most personal lyrics coming from recent history, Neverending has a taste to the maudlin, or the introspective which allows them play more with their identity.

    No track highlights that more than the steamrolling doom dirge of It's Neverending which features Jörgen Sandström (formerly of Entombed) delivering snarling death vocals, the first time Thomas hasn't sung in a Monolord song.

    The band and hopefully, it's audience, are more comfortable with each other after this time, as if there's and expectation to shake things up a little as you near big milestone years, Neverending is loud return for for Monolord but with a refined attitude to who they are. 9/10

    Shooting Daggers - The Real Life Thing (New Heavy Sounds) [Mark Young]

    Sometimes we just need simple things. Something that is unfettered with having to squeeze a million notes in and just wants you to dance. 

    The Real Life Thing is in their own words a ‘mini album’ and is 7 tracks of punk/hardcore/melodic infused guitar driven music that makes no attempt to stay in one lane. 

    And why should they? Adrenaline is a cracker, one of those songs which could make anyone dance (even me). With that sub three minute run time it’s a perfect example of what an opening track should be about.

    It’s when they launch into My Oh My which changes their sound completely, going from the bounce to a more restrained and thoughtful approach its plain to see that they can make great music and still contain a message of hope. 

    They know how to build songs and how to deploy them to great effect. That positive undercurrent runs through this, underscoring it. T.R.L.T. picks up the pace once again, providing that bouncing momentum that Adrenaline started with. Its purpose built for an audience that wants to move, to just enjoy a night out.

    After the 28 second We Just Wanna Play, they roll out Loud Mouths (ft The Menstrual Cramps) and it’s a blast. If someone asked me to describe what Punk sounded like I’d probably point them in this direction. 

    It feels that with this, a lot of the posturing that I associate with Punk/Hardcore and generally puts me off is missing and I love it. 

    As mentioned, they don’t sit still going from that classic punk sound to the beauty of Le Soleil. This variety makes this release such a great one as they move effortlessly between these different lanes. 

    GLOW (ft Dennis Lyxzén) wraps things up for the three piece. The guest vocals fits in so well without overshadowing Sal. Taking the release as a whole, there is a lot to appreciate here, and if I had to pick any one song as a jumping on point, I would be hard pressed to do so. 

    They don’t do the same thing every time, they just do what they think is right and you either like it or you don’t . What you can’t escape is how good these songs are, and I hope that they make their way north for a gig or two. Give them a go, they could be your new favourite band. 7/10

    Gurt – Survival Of The Shittest EP (Self Released) [Cherie Curtis]

    Survival Of The Shittest is definitely a fun one. Gurt brings three ruthless and hellraising floor fillers. This EP consists of two original tracks, Live Nation, Dead Scene and the title track Survival Of The Shittest which are both punchy and ruthless with an Imposing atmosphere. 

    The vocals are scathing and unruly in the best way, complimented by repetitive and sludgy riffs that may have gotten boring if they weren’t executed with effortless and raw intensity; simple composition but very effective in building tension and maintaining it for an entire track that’s all buzz and no chill. 

    These tracks are great energizers and it’s easy to listen to, but the obvious star of the show here is their cover of 2 Unlimited’s 90’s club classic, No Limit.

    Gurt’s cover of No Limit has what it says on the tin, no limit. It starts out burning hot and like the other two tracks on the album, it just stays there (which I'm starting to gather is one of Gurt’s main attributes). 

    This cover is bouncy with classic prickly riffs to mock the Synths from the original which amps us up and knocks us down with the signature beat we all know and love. 

    It’s exactly what you need after a couple drinks on a night out but it can be a little off putting at first if you're a fan original, but after the dust settles you do realize (if your anything like me) it's a good song made better because its aligned with your taste. 

    Gurt adds what the original couldn’t provide; what we all didn't know we needed - blood pumping metal. 

    I can safely say i would pay good money to have this played in a club and to hear this played live would be so unexpected it would have me losing my mind, it's almost a shame i heard it here first and not for the first time at a gig.

    On the whole this one is solid; it's a well-rounded riot and listening to it was a breeze. It’s mixed well and the band clearly have a knack for their art and more importantly, especially to me, it was fun. Listening to this one was an immediate mood booster, but it didn’t give a lot to think about, but it doesn’t need to. 

    The EP was over and done with before i finished my coffee which works and makes you want to revisit it a few more times and every time you do it hits even harder. 7/10.